Thomas Schmidt is Professor of Music at the University of Manchester. He studied at the universities of Heidelberg and Chapel Hill and received his doctorate in Heidelberg in 1995. After holding positions in Heidelberg, Urbana and Frankfurt, he was appointed as Chair in Music at Bangor University in 2005; in 2008, he was a Visiting Fellow at All Souls College, Oxford, and in 2012, he took up his post at Manchester. His main areas of research are music and musical sources of the 15th and 16th centuries and German music of the late 18th and 19th centuries (Mendelssohn and Mozart in particular). Other current projects include an edition of Mendelssohn’s incidental music Antigone and the Digital Image Archive of Medieval Music (DIAMM) of which he is a co-director.
Charles Burnett is Professor of the History of Islamic Influences on Europe at the Warburg Institute and has devoted his research to the transmission of Arabic texts and artefacts to the West, including in the area of music. His research is based mainly on manuscripts in Arabic and Latin; he teaches Latin palaeography and has written several articles in the field of manuscript studies.
Christian Leitmeir is Senior Lecturer in Music, Director of Graduate Studies and Deputy Head of Music at Bangor University. He joined the School of Music at Bangor after studies at the Universities of Munich, King’s College London (MMus) and Tübingen (PhD) and a subsequent Frances Yates Research Fellowship at the Warburg Institute. He has published on various fields of music history, with a special emphasis on examples and mise-en-page in medieval music theory and sacred works of the early modern period. He is author of a monograph on the Flemish composer Jacobus de Kerle (Turnhout, 2009), co-editor of the yearbook Musik in Bayern, and the journal Plainsong & Medieval Music, and is preparing a complete edition of Jacobus de Kerle’s works.
Hanna Vorholt is an Anniversary Research Lecturer at the University of York. She completed her MA at the Courtauld Institute of Art, and her PhD thesis at the Humboldt University in Berlin. Previously, she worked as Research Associate at the Fitzwilliam Museum on the Catalogue of Illuminated Manuscripts, and as Project Officer at the British Library; she has held a Munby Fellowship at the University of Cambridge, a British Academy Postdoctoral Fellowship at the Warburg Institute, a full-time research consultancy for the ERC-funded project ‘Projections of Jerusalem’, and an affiliated lecturership at the Department of Anglo-Saxon, Norse and Celtic at the University of Cambridge. Her research focuses on knowledge transfer in medieval manuscripts, and the image of Jerusalem in Western medieval maps and architecture; other interests include mise-en-page, the history of scholarship, and political iconography.
Paul Vetch is a Senior Lecturer and King’s Business Innovation Fellow at the Department of Digital Humanities, King’s College London. He is Co-Investigator, Project Manager, or Technical Research Director of a number of major projects with funding from the Andrew W. Mellon Foundation, AHRC, JISC, Leverhulme Trust, British Academy, and UK Heritage Lottery Fund. Paul’s research interests lie in web interfaces and UI conventions, particularly within the Digital Humanities and cultural heritage, and his focus is on process, user engagement, and experimental design and development.
Mara Hofmann studied at Erlangen and Berlin (Freie Universität), where she completed a PhD in Art History in 2002 (Jean Poyer: Das Gesamtwerk; Turnhout, 2004). She has previously held positions at the Institut de recherche et d’histoire des textes in Paris as a Feodor Lynen fellow of the Alexander von Humboldt Foundation, at the Centre for Manuscript and Print Studies of the University of London, working on the British Library Online Catalogue of Illuminated Manuscripts, and at the National Gallery as a Mellon Fellow, where she created the Raphael Research Resource. Her research interests and publications focus on manuscript illumination in France and Flanders, and developments in mise-en-page from the late fourteenth to the early sixteenth century.
Ian Rumbold is a Senior Research Fellow in the School of Music at the University of Manchester. His previous research has focused on nineteenth-century French music and late-medieval music from Central Europe. He has edited three volumes of the New Berlioz Edition, published by Bärenreiter-Verlag, and is co-author, with Peter Wright, of Hermann Pötzlinger’s Music Book: The St Emmeram Codex and its Contexts (Boydell Press, 2009).
Sanna Raninen is a PhD student at the University of Manchester, working on polyphonic printed editions of polyphonic music from the early sixteenth century. She studied for a BMus and MMus at the University of Glasgow, focusing on Central European manuscripts from the fifteenth century. Her research interests include music transmission, mise-en-page and text–music relations in sources from the late fifteenth and early sixteenth centuries. She also works as a graduate teaching assistant at Manchester.
Marianne Gillion is an PhD student at the University of Manchester, working on chant reform in Italian printed sources of the 16th and early 17th century. Previously, she studied at the Royal Welsh College of Music and Drama (Cardiff) and Trinity Western University (Canada), where her interest in chant and twentieth-century composers resulted in the article ‘Eastern Orthodox Spirituality in the Choral Music of Igor Stravinsky’, and subsequently obtained an MA at Bangor University.
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